From the times that necessitated a new normal, live musicians from all over the world, including the US, were at the forefront of keeping the legacy of live music alive and thriving.
This global effort saw the launch of Oxalis Triangularis, a collaboration between clarinetist Tyler Neidermayer, flutist Yoshi Weinberg, and pianist and keyboardist Jixue Yang, the founders of the Apply Triangle.
The three-volume album is a testament to the power of global collaboration.
The album’s production began with the trio announcing an open call. Composers were invited to submit pieces including electronics, limited to five minutes or less.
The call received an overwhelming response, with 33 composers submitting complete proposals, meaning the project was set to be a monumental one-of-a-kind sprawling audio mosaic that reflects both our fractured realities and the possibilities that bloom when technology meets trust.
Since then, there has been no stopping, and their work has continued to receive international recognition.
Their performance of William Bolles/Beaver’s Oliv(i)a|Viola (2020) was selected as a finalist for the 2022 ASCAP Morton Gould Young Composer Awards.
Seth Andrew Davis’s Spectre of a World That Will Be Free gained further recognition following its recording, with performances by various instruments and the creation of alternate versions.
Additionally, two tracks—Consistencies Between and Static Days—were featured on ASCAP’s New Music Friday playlists.
This wasn’t just a recording. It was a ripple.
For the pianist Jixue Yang, this collaboration opened doors to a wide range of future possibilities.
She reflected in one of the interviews: ‘”The pandemic made me more attuned to both limitations and possibilities — not just in logistics, but emotionally and artistically. I became more proactive in seeking out collaborations, especially across disciplines.”
Each composition introduced its sonic world, ranging from fixed media to live electronics, from subtle reverb effects to complex spectral manipulation.
Yang’s role involved internalizing the logic of each electronic layer and determining how the piano could exist within, respond to, or push against that unique soundscape.
Selecting a single favorite track from Oxalis Triangularis is nearly impossible, as the album is designed to be experienced in all its essence, piece by piece.
Each track stands out for its distinctive style, sonic identity, conceptual framework, and performance demands.
What truly sets this album apart, however, is its emotional resonance: every piece offers a powerful reflection on the human experience, leaving a lasting impact on both performers and listeners.
Oxalis Triangularis traverses a broad spectrum of aesthetics, textures, and compositional voices.
Oxidized, one of the first pieces recorded for the album, stands out as a quiet marvel.
This recording, made without real-time interaction, a conductor, or a shared physical space, achieves rhythmic precision and aural cohesion.
The technical and artistic challenges are addressed by the musicians. Intraspecies Small Talk and the End of the World takes an entirely different approach.
Constructed from fractured wind samples and non-pitched textures, this piece features a text-based score that lacks traditional notation.
What We Kept paints a picture of a world slowly recovering. The piece weaves altered sounds from nature with simple musical notes.
Static Days is a frequently revisited piece by the performers. held, however, is a unique experience that fosters deep, collaborative listening.
The pianist’s sustained, freely chosen three-note chords respond to processed clarinet and flute sounds, creating a harmonious blend that signifies the album’s range and the potential for experimentation in electronic music.
Beyond these, the album brims with sonic ingenuity and interpretive daring — a compelling listen for anyone drawn to the experimental vanguard of contemporary music.
While we were amazed by the wide range of styles and techniques showcased in the pieces, as well as the musicians’ virtuosity and unique interpretations, what stood out just as much was the production process behind Oxalis Triangularis.
This project was not merely performed; it was built through collaboration. The trio worked closely together to ensure the album’s smooth completion, taking on tasks such as tracking and layering recordings, editing audio, and building click tracks.
Even the album’s visual design and publication details were finalized through collective effort.
Remarkably, the musicians themselves played a key role in coordinating ensemble timing for asynchronous performances, turning logistical obstacles into creative possibilities.
“It was a truly immersive experience — combining curation, collaboration, creativity, and care at every step,” shared Yang, the first Chinese citizen to graduate from Manhattan School of Music’s Contemporary Performance Program.
With over 70 new works premiered and performances in cities such as Leipzig, Boston, Knoxville, Philadelphia, Ede, and Fuzhou, Yang’s artistry encompasses experimental performance, electronics, and cross-cultural dialogue.
Rather than being hindered by its constraints, the project thrived because of them.
It revealed how musical collaboration can be reimagined — rebuilt across time zones and hard drives — through a foundation of deep listening, care, and mutual curiosity.
This ethos continues to shape Yang’s work as a pianist, artist, and curator. Her latest ongoing performance project, imUnsure, carries forward that creative spirit.
Funded by the 2025 Houston Arts Alliance “Let Creativity Happen” Grant and supported by the Manhattan School of Music and THE BLANC gallery, imUnsure merges piano, electronics, visuals, and choreography to tell diasporic narratives.
Developed alongside other East Asian women artists, it explores identity and sonic resistance through a lens of vulnerability and innovation.
While Oxalis Triangularis marked a significant milestone in Jixue Yang’s career, it is far from a culmination.
She continues to seek new creative horizons. Among her notable achievements are two Chamber Music America Ensemble Forward Grants and a Gold Award from the 2024 Singapore International Music Competition — honors that underscore her commitment to pushing boundaries in contemporary music.
The album is now available globally across all major streaming platforms. For more information, visit www.yangjixue.com, or follow Jixue Yang on YouTube to stay updated on her evolving projects and performances.
